San Francisco artist Jason Mecier makes mosaics from junk – pills, candy, macaroni, and much more. Mecier’s portrait of Marilyn (based on a photo by Richard Avedon) is featured in his new book, Pop Trash, alongside a young Madonna during her Monroe wannabe period.
Richard Avedon’s 1954 photo of Marilyn with director Billy Wilder covers the latest issue of Dutch arts weekly VARAgids(or VARA Guide), as this summer’s Wilder retrospective continues at the Eye FilmMuseum in Amsterdam. (You can read the full article – in Dutch – here.)
This terrific photo of Marilyn with her friend Sammy Davis Jr, taken by Frank Worth in 1953, is up for sale in the Summer Modern & Contemporary Art auction at RoGallery in Long Island next Tuesday, July 17. Other Marilyn-related lots include posters from Richard Avedon’s ‘Fabled Enchantresses’ series, and a photo by Lawrence Schiller from the ‘pool scene’ in Something’s Got to Give.
Richard Avedon and Marilyn had a dear mutual friend – the novelist Truman Capote, who provided the text for Avedon’s 1959 book, Observations.
“Truman leapt at Dick’s invitation to collaborate on a book project. He sent his text to Dick in stages, written in his fussy little hand on yellow legal pads and always accompanied by a note that endearingly began ‘Beloved Collaborator.’ Dick was dazzled by Truman’s lapidiary descriptions of his portraits … Marilyn Monroe – ‘a waif-figure of saucy pathos … an untidy divinity – in the sense that a banana split or cherry jubilee is untidy but divine’ … Though Truman’s contributions would be labelled as ‘comments’, they added up to a composite portrait of their own and succeeded in making Observations as much a book with pictures as a picture book with text.”
Taken at the end of a long sitting in 1957, the portrait now known as ‘Sad Marilyn’ has become one of her most iconic images, and a stand-out in her collaborations with Richard Avedon. Mark McClish, who worked with Avedon during the 1990s, names it as a favourite in Avedon: Something Personal.
“He let me choose a print when I left, and I picked the sad Marilyn. I had fallen in love with that picture when I was emptying wastebaskets every night as fourth assistant – I was all alone in the building, and so was she, somehow, and, I don’t know, she spoke to me. Dick did one of his smiley faces in the archival paper he wrapped her in for me – except he gave the face a frown and put tears in the eyes, which I’m not embarrassed to admit brought tears to mine. I still have my Marilyn – I haven’t had to sell it, my kids aren’t in college yet …”
Avedon was fiercely protective of Marilyn’s memory, as revealed in a chapter concerning a 2002 exhibition at New York’s Metropolitan Museum of Art.
“The two photographs he had designated for promotional purposes were the cross-dressing dancer John Martin and the Bee Man, but now the Met wanted to replace them with the sad Marilyn (a photograph that her own husband, Arthur Miller, had described as ‘succeeding as much as any single picture can in its attempt to portray her as herself’ and that Time magazine characterised as ‘the most psychologically inward picture ever taken of her’). The museum argued that Marilyn enjoyed a ‘Q Score’ of twenty-five (high for a ‘deleb’, or dead celebrity) and that using her to advertise the exhibition could make a disproportionate difference in the number of attendees. Dick protested that this would be exploiting her as a sex celebrity and proposed using June Leaf instead. In the end the Met got their Marilyn, and Dick got his June on the cover of the catalogue.”
Avedon shared another memory of Marilyn in conversation with model turned psychiatrist Lauren Helm, whom he photographed and interviewed for Vogue in 1983. “I remember saying something to the effect that I could never see myself the way other people said they saw me,” she recalls, “and he said that Marilyn Monroe had said practically the exact same thing to him.”
Penny Cobbs, who worked for Richard Avedon during the 1980s, has described their collaboration on a series of posters based on his ‘Fabled Enchantresses’ sessions with Marilyn. “We did four Marilyns – her impersonating the old-time sex symbols Jean Harlow, Theda Bara, Clara Bow, and Lillian Russell – he’d done those pictures for Life in 1958,” Cobbs recalled in an interview for Avedon: Something Personal. “But since nobody could recognise Marilyn, they didn’t go over well.” Ironically, these posters are now highly collectible and because of their rarity, they sell well at auctions.
In his early years as a fashion photographer, Richard Avedon was known for his use of movement, as opposed to the rather stiff poses of the day. He carried this through to his work with Marilyn, as Tim Walker – who worked with Avedon in the mid 1990s – recalls in Avedon: Something Personal.
“Dick had put up this huge bubble-jet poster of a sequence of pictures he’d taken of Marilyn in a tight sequinned dress: she was laughing in one of them, she had her hands on her hips in another one, in another her head was down, then up … One morning the first thing, when I was making the coffee, I observed him standing in front of the poster mimicking all her poses, reliving the shoot in a way – almost asking, with his own body, ‘Did I get all I could?’ And of course he had!”
Frederick Eberstadt, who was Richard Avedon’s studio manager from 1958-60, shared his memories of the Some Like It Hot photo shoot in Avedon: Something Personal.
“When Dick was doing the publicity photographs for Some Like It Hot, Tony Curtis came in carrying the most elaborate camera you ever saw. He said to Dick, ‘You’re the perfect person to show me how to use this thing.’ Dick took one panicked look and said, ‘My studio manager Frank [Eberstadt] will be happy to help you out.’ One of the first things he said to me when I went to work for him was, ‘Don’t bother to learn any technique – you can always hire some guy for a few bucks a week.’ Dick simply did not know how he did what he did. Learning to photograph from him would have been like trying to learn to sing from somebody who has perfect pitch and just can’t help hitting the right note.
At noon on the day he was to shoot Marilyn, a woman with a doughy face and a babushka, who I presumed to be her maid, dropped off some clothes for her at the studio. It turned out to be the star herself – that was what she looked like when she was not in full drag. She was supposed to come back at three, but Dick had booked somebody else in that slot, knowing she most likely wouldn’t show up until six and wouldn’t be ready to work until nine. He told me to stick around, that my job would be to make sure her vodka was diluted enough so she didn’t get too drunk but not so much that she realised it was mostly water.”
Amy Greene is one of many luminaries interviewed by authors Norma Stevens and Steven M.L. Aronson for Avedon: Something Personal, in which she reveals the ties between Milton and Avedon, and later, Marilyn.
“One night in 1950, the photographer Milton Greene was having one of his Friday night open-houses in his penthouse studio, in the old Grand Central Palace building on Lexington Avenue. The room was packed with art directors, admen, models, photographers, actors, and dancers. Dick [Avedon] introduced himself to a fragile-looking blonde with almond-shaped eyes who was standing alone against the wall of the loggia – a wallflower. He broke the ice with, ‘How do you know Milton?’ She said, ‘I was married to him,’ and she filled Dick in: They were high-school sweethearts who had tied the knot in 1942 when she, Evelyn Franklin, was eighteen.
Dick said he was instantly taken by Evie’s feyness and elusiveness … He invited her to dinner that night at the Oyster Bar at Grand Central Terminal. From there the relationship took off like a choo-choo train, and the couple got hitched at the end of January 1951.
Milton Greene had meanwhile taken up with a cute Cuban-born model whom Dick had ‘discovered’, Edilia Franco (Conover, the modeling agency he sent her to, changed her first name to Amy and her last name to – in a nod to Dick – Richards.) In the spring of 1952, the year before he married Amy, Milton invited Dick and Evie to Sunday lunch in the country. ‘I wasn’t feeling so hot,’ Amy recalls. ‘I told Milton I wasn’t up to coming down. ‘Listen,’ he said, ‘I went through this shit for seven years with Evelyn, and I’m not going to put up with it from you. So get the hell up, put something decent on, and make an effort!’ He told me that one of the reasons he divorced Evelyn was she would stay in bed for days on end.
‘When Dick was in Hollywood for three months in 1956 consulting with Paramount on Funny Face, Milton was there producing Bus Stop with Marilyn, and Evelyn and I met for lunch,’ Amy recalls. ‘She and Dick were renting Marilyn and Joe DiMaggio’s old ‘honeymoon house’ on North Palm Drive in Beverly Hills, and she complained that the tour buses would drive by several times a day and the guide would make a big thing over the megaphone about the master bedroom – she said it was sexually inhibiting. The minute Evie discovered that I detested Milton’s mother as much as she did, she started giggling, and we became sort of friends. I remember her grousing that all Dick ever did was work. So I guess there wasn’t much reason for her to get out of bed.’
Five years into his marriage to Evie, a movie inspired by Dick’s [first] marriage … lit up screens across the country. ‘Funny Face, by the way, wasn’t really about me. They just used my early fashion escapades as a pretext to make a glamorous musical extravaganza …’ (Avedon)
Amazingly, Dick’s boyhood idol, Fred Astaire, now an old boy of 57, played the 25 year-old lead, named Dick; Audrey Hepburn played Doe, renamed Jo … The day Fred Astaire made his leap into death, some thirty years after Funny Face, Dick appeared in the doorway to [Norma Stevens’] office with tears running down his cheeks. ‘I didn’t cry when Marilyn died, I didn’t cry when [Alexey] Brodovitch (Avedon’s art director at Harper’s Bazaar) died, he told [Stevens.}”
Richard Avedon’s first collaboration with Marilyn was in September 1954, when she visited New York to film The Seven Year Itch with director Billy Wilder. It may also have been their first meeting, and their warm camaraderie is evident in the resulting photos, taken by Sam Shaw. Earl Steinbicker, who was Avedon’s studio assistant at the time, remembers the shoot in Avedon: Something Personal.
“I met a helluva lot of famous people with Dick … I was there for the first sitting Dick ever did with Marilyn Monroe. The Daily News had sent a photographer to photograph him photographing her. I worked the fan blowing her hair, and at the end of the sitting she came over and said, ‘Wouldn’t you like a picture of me?'”